Both of his parents Adam (1776-1827), an employee in charge of sheep farming of Hungary’s richest and most powerful magnate Prince Mikls Esterhzy, and Maria Anna Lager (1788. His native village, Doborjn (or Raiding in German), belongs today to Austria. The work of Franz Liszt has been arranged by other composers and pianists, most notably Ferruccio Busoni and Marc-André Hamelin. Franz Liszt was born in Western Hungary on 22 October 1811. Encouraged by his father, who was a talented amateur musician, Liszt developed an early interest in music and began composing at age eight. 22, 1811, Raiding, Hung.died July 31, 1886, Bayreuth, Ger.), Hungarian composer and pianist. trills with the fourth and fifth fingers starting on measure 80 and lasting for 4 bars, and fast chromatic scales starting on measure 73. Franz Liszt, Hungarian Ferenc Liszt, (born Oct. The étude also involves other technical difficulties, e.g. For example, in bar 101, the left hand makes a sixteenth-note jump of just a half-step below three octaves. However, the left hand studies about four extremely large intervals, larger than those in the right hand. The two red notes are 35 half-steps apart (~46cm apart on a piano.) The family moved to Paris, and Franck dutifully continued touring. He rubbed shoulders with the great Franz Liszt during a tour of Belgium in 1843. Franck’s performances were acclaimed wherever he played.
Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the first thirtieth and thirty-second measures. But all his father was interested in was exploiting his son’s potential as a performer. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with little (depending on the arrangement) no rest. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). As a whole, the étude can be practiced to increase dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand and muscles within the forearm and wrist. The étude is played at a gentle, brisk allegretto tempo and features constant octave hand jumps between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. Professor Greenberg weighs this charge, explains its grounds (as we have seen, Liszt, unlike Brahms, did tend to publish indiscriminately), and then shows you-concretely and with specific examples from Liszt’s works-the grounds for his own belief about the merits of this claim.Incipit for "La campanella" by Franz Liszt ( Grandes études de Paganini S. The conductor Hermann Levi even called him “a talented humbug.”
Some critics, then and now, have felt that Liszt, while incomparable at the keyboard, was derivative and seriously uneven as a composer. Traveling arduously all over Europe on mail coaches, playing whatever instrument was available in whatever hall he could find, he stunned even the most jaded critics and listeners everywhere he went with his sheer virtuosity and almost unbelievable musical gifts. Liszt was without a doubt the greatest pianist of his time. That word is not just the title of a quirky 1975 Ken Russell movie, but a term invented by Liszt’s contemporaries. More than anyone before him-more than Beethoven, Byron, even the preternatural Paganini-it was Liszt who created one of the most enduring archetypes of the Romantic era: that of the artist “who walks with God and brings down fire from heaven in order to kindle the hearts of humankind.”Īfter experiencing Professor Greenberg’s lectures, you will know-really know-what “Lisztomania” is all about.
“Franz Liszt, Both Sides Now,” you might call it.
As for his life-Felix Mendelssohn observed that Liszt’s character was “a continual alternation between scandal and apotheosis.” “Scandal and apotheosis”? What could that possibly mean? Join music professor Robert Greenberg for these lectures, and go on a fascinating journey in search of the truth about both. Musically, Franz Liszt (1811–1886) is one of the most written about but least understood composers of the 19th century.
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